“Shanhaiqing,” also known by its English title “Minning Town,” is a 23-episode TV series based on the decades-long battle against poverty in Northwest China’s Ningxia Hui Autonomous Region. Photo: PROVIDED TO CSST
In the new era, Chinese non-fiction literature and art, including reportage, biographies, period dramas, documentaries, and films adapted from real events, bears the responsibility of creating historic epics. These works rely on realism to tell Chinese stories, express Chinese sentiments, and highlight Chinese spirit, drafting new epics for the nation. Chinese non-fiction literature and art draws from a Chinese context, focuses on Chinese realities, and foresees China’s future. Its present focus is the construction of its own unique “new epic” narrative using the people’s perspective, a broad historical view, and a global vision, while progressively shaping its own distinctive style.
Workers’ stories in people-centered approach
The people’s history centers on the people. They are the subject of history, and many argue that the people are also the essence of history. Chinese non-fiction literature and art has always focused on ordinary yet inspiring working people. These artistic works record and present the beauty of labor, its strength, reason, and creativity, using a people-centered approach to show that “l(fā)abor is most honorable” in the new era.
Among the vast archives of non-fiction literature and art, some depict “hard work” to highlight the spirit of craftsmanship. Creators of contemporary Chinese non-fiction literature and art strive to portray the “hard work” of ordinary people, showcasing their collective and dynamic characteristics: advancing with the times and striving for progress. These works tightly integrate grand narratives with daily narratives to give life to the “spirit of craftsmanship” that resonates deeply across the era, providing new expressive spaces where working people’s stories are told.
Some are keen to represent “honest labor” and the “readiness to get down to work.” The tradition of “getting down to work” is the cornerstone for constructing stories of “honest labor.” Transforming abstract and obscure aesthetic concepts into concrete and palpable artistic images is fundamental for artistic works to connect with people and also enhance their artistic quality.
Some focus on “creative labor” while upholding tradition and innovation. Within the framework of the people’s history, contemporary Chinese non-fiction literature and art combines tradition with innovation, drawing a picture of “creative labor.” Upholding tradition is important for innovation, and innovation in turn safeguards tradition. The dialectical unity of upholding tradition and fostering innovation serves as the driving force for “creative labor” and forms a solid foundation where the great rejuvenation of the Chinese nation can be realized.
Revival stories with broad historical view
Chinese history contains profound philosophical wisdom and truths about life, and this is the source of Chinese cultural confidence. When we say we need to have a broad historical view, it means we should be grounded in the scientific principles of Marxism, adopt the standpoint of historical materialism, and use a comprehensive understanding of history to grasp the present. In the grand narrative of history, truths are discerned and experiences refined. Therefore, constructing revival stories with a broad historical view is crucial to contemporary Chinese non-fiction literature and art. This is seen when the monumental centennial struggle of the Communist Party of China (CPC) is retold, the Chinese spirit is inherited by contemporary citizens, and a new form of human civilization is presented.
Some works retell the centennial struggle of the CPC. In Chinese non-fiction literature and art, such narration is not only a cultural spectacle with distinctive Chinese characteristics but also a profound contribution that literary and artistic creators make in the new era. To do this well, we must emphasize the importance of historical facts and follow people-centered narratives.
Other works depict the contemporary inheritance of the Chinese spirit. Throughout the long span of Chinese history, there have been deep worries about the fate of the country. These are conveyed in Qing Dynasty official and scholar Lin Zexu’s heroic expressions “Were it to benefit my country I would lay down my life; what then is a risk to me?” and in Tang poet Wang Changling’s cry “Our golden armor pierced by sand, we fight the foe; we won’t come back till we destroy the hostile State.” Artists have also historically advocated for reform and innovation in the face of adversity. As Liu An wrote in Huainanzi over 2,500 years ago, “One doesn’t have to follow a beaten path if he wishes to benefit the people, and one doesn’t have to observe old conventions if he wishes to get things done.” There are also calls for sacrifice, as in the historic line, “I will work heart and soul for my country to the day I draw my last breath.”
All such values are embodied in timeless poetry and classical aesthetics passed down through generations. Today, these spiritual lineages are prominently featured in Chinese non-fiction literature and art. Revival stories depicted in Chinese works combine historical depth with contemporary realism, presenting the contemporary inheritance of the Chinese spirit through narrative, realism, and artistic expression. This allows the spirit of China to become the soul of national rejuvenation and strength.
As a typical example of historical narrative, Chinese non-fiction literary works often retrospectively view the profound history through methods of reminiscence, exploration, verification, and cross-reference confirmation. They accurately depict important events, artistically presenting the rich and profound Chinese spirit amid historical currents.
As works of narrative art, the presentation, transformation, and encoding of the Chinese spirit in Chinese non-fiction literature and art does not merely rely on thematic success. Instead, authors excel in portraying authentic, diverse characters, allowing these characters to radiate spiritual charisma within the grand narrative of the rejuvenation of the Chinese nation.
Some present a new form of human civilization. This “new form of human civilization” imbues socialism with Chinese characteristics with a new cultural significance, reflecting the CPC’s vision of a “new civilization” and carrying profound global implications. It represents a new choice for humanity’s future. Chinese non-fiction literature and art reconstructs socialism into a new form of civilization through ordinary yet great revival stories. By showcasing China’s rise, power, and historical progress in the literary and artistic world, these works present the creative history of a new form of human civilization.
Chinese non-fiction literature and art focuses on the new form of socialism’s civilization, emphasizing the “l(fā)ogic of humanity” in absolute superiority over the “l(fā)ogic of capital.” Furthermore, Chinese non-fiction literature and art presents a shift in the world’s historical discourse, disrupting the idea that the East is subordinate to the West, and reshaping the contemporary global order of civilization with the spirit of realism.
Writing international stories with global perspective
In the new era, Chinese non-fiction literature and art actively recounts colorful stories of China and the grand new epic of the Chinese nation while also remaining focused on significant global political, economic, and cultural phenomena, covering them from a global perspective.
“Harmony and symbiosis” is a concept that is key to China’s national security, and new artistic works uphold this philosophy. In an increasingly complex international environment, contemporary Chinese non-fiction literature and art reflects a humanistic concern that shares warmth with the world while reflecting cold realities, telling international stories with a perspective keen on seeking common ground while preserving differences, converging interests while respecting diversity, and always preserving mutual respect and trust. This showcases the concept of “harmony and symbiosis” of a great nation.
The core of the “harmony and symbiosis” security concept is “harmony.” It is the historical mission of contemporary Chinese people to show “harmonious beauty” as the Chinese nation’s name card to the world, and to remember “harmonious spirit” as the rejuvenation task is underway.
In the face of a plethora of international security threats today, China calls on all countries worldwide to embark on a new path of security characterized by dialogue rather than confrontation, partnership instead of alliance, and win-win cooperation rather than zero-sum games, providing new thinking and paradigms to eliminate the root causes of international conflicts and achieve global long-term stability. Chinese non-fiction literature and art also responds artistically in a factual manner that directly reaches the soul of this strategy.
The cultural concept of “shared destiny” is also included in Chinese non-fiction. With a cultural heritage of five thousand years, Chinese civilization demonstrates an inclusive quality. Chinese non-fiction literature and art draws its essence from excellent traditional Chinese culture, telling stories of China assuming moral responsibilities around the world and exemplifying the ancient idiom “within the four seas all men are brothers.”
The ecological view of “harmonious beauty” is promoted in literature. “Harmonious beauty” is the basic form of classical Chinese aesthetics, reflecting the aesthetic ideals of generations of thinkers on issues such as humanity, nature, and the universe after thoughtful consideration. It is also the cultural background of the new era’s high-quality development, oriented towards green development.
The symbiotic stories of “humanity and nature” portrayed by Chinese non-fiction authors and artists are concrete examples of the ecological ideal of “harmonious beauty.” This high-quality artistic work is a prerequisite if Chinese ecological stories are to reach the global audience. Integrated closely with the practical issues of constructing an ecological civilization in the new era, these stories highlight the transcendence achieved by humanity in ecological practice. They emphasize the importance of “harmony among people” and “harmony among civilizations” in constructing community aesthetics, which will ultimately promote the construction of a global community of life on Earth. This is not only a “Chinese characteristic” but also a “creative standard.” Only by adhering to this criterion can Chinese ecological stories truly become a shining gold standard that China presents to the world.
By constructing working people’s stories with a people-centered view, writing revival stories with a broad historical perspective, and narrating international stories with a global perspective, contemporary Chinese non-fiction literature and art expands the perspectives, methods, and paths of Chinese literary creation by drafting a unique “new epic.” While acknowledging rich traditions, this field forges ahead with legendary stories of the Chinese nation. These works successfully disseminate Chinese literature and art, and even Chinese civilization, around the world in the new era. These works are becoming, or have already become, outstanding examples of literary masterpieces, cultivating literary soul, expressing literary sentiments, and elevating literary realms in the new era.
Wang Hui is a professor from the School of Literature at Nanjing Normal University and Ai Zhijie is from the School of Chinese Language and Literature at Suzhou University of Science and Technology.
Edited by YANG XUE